I typically like darker, minor key music, not because I am a sad person or anything but more becuase that’s just the way my tastes solidified from an early age (probably thanks to an unhealthy obsession with Radiohead). Since I like complexity and dislike pop hooks, thoughtful and dense (not necessarily sad) music suits my tastes.

Maybe it is the city of San Francisco’s resistance to completely and decisively sliding into Winter this year, but I seem to be listening to albums with more hop to them. One of these is Little Joy’s eponymous debut. While I love albums that grow over time, this one had me very early in the running (like after the first listen). There was something nice about immediately hearing where they are coming from, and yet their sensibilities hint at diverse influences.

The Strokes’ Fabrizio Moretti is probably the most recognizable player of the group, but it also features his girlfriend Binky Shapiro and Los Hermanos’ Rodrigo Amarante. This album has a laidback island/calypso feel which meshes well with the lo-fi AM radio production. Amarante’s voice sounds like it was treated by the same sound engineer responsible for The Strokes’ singer Julian Casablancas’ drugged-out croon. The tight rhythm work in tracks like “No One’s Better Sake” are a rollicking walk down memory lane; the tight grooves interlace with the guitar and whirling keyboard in interesting ways until the chorus breaks wide open. 

All in all, I agree with Pitchfork’s review that though I am sure much work was put into this release, the album is truly a smooth ride throughout and feels effortless (well not completely effortless, you might need to refill your drink a few times, and buy a hammock). Check out Pitchfork.tv’s small acoustic session below, and def pick up the album if you need some more cheered-out island rock now that your Vampire Weekend CD skips from overplaying.